Académique Documents
Professionnel Documents
Culture Documents
CONDITIONING
How t o bui ld st rength, agi lity,
and cardiovascular f itness using
capoei ra movement s
Gerard Taylor
Photography by Anders Kjaergaard
BLUE SNAKE BO O KS
Bt riu:leY7 Ca lifor nia
Copyright 0 2005 by Gct..rd Tay!()t". All righ ts reserved . No portioo of [hi~ book, except
f or brief review, may be reproduced , nord in ;l. retri eval system , ur tran smitted In any
form or by m y mca"" .......,It.'Ctmn;", n>e<:h ~nical, ph otocopying, r<;c,xding, m ouierwtse--.
witho ut written permission of the publish er. Fo r infor m.atio n coa ract Bluc Snake Boo b;
/ Frog , Ltd. c/ o N orth Atlan tic Books .
Publi shed by Blue Snake Books / Fro g , Ltd . Cover and text desig n by Bract Gre ene
Blue Snake Boo b / Frog , Ltd. books Pri nted in th e United States o fA merica
are distributed by N orth Atlantic Boob D;_mibUl ~ d to th e 1>001:; tra d e by
Kord\ ATlan tic Ho o ks' pu blications are avaib blc throu gh most bookstor es.
r o r fur ther info rm atio n, call 800-337-266 5 o r visit our we bsit e at
www.no rthatlan n cbooks.co m.
Su bstantial discounts on bulk quantiti es are available ( 0 corporations, pro fes-
sional assccenoos, and other organiU tioIlll. Fvr d eWls and decou m infcrma-
c oo. contact o ur special (~Ic$ departm. nt.
I' d like to th ank T ina, Marit, and Axe, all formados o f O slo Capocira
Klubb, for th eir patience and hard wo rk wh ile we were putting this
book together. H ug e th anks to Sue and Anders for co mmu tin g
betwe en Lo ndon and Oslo with unusual rcgul ariry to take the ph o-
tos , answer bombardment s of e-mails, uncover discrepan cies, and
amazingly, all remain friends at the end o f it .
Acknowledgment to Yvonne Cardenas ofNorth Atlantic Boo ks
for proj ect coordina tin g, encourage me nt, and making the co py -
editing process a painle ss experie nce. "Tusen till" to Rud Vid e-
regdende Skole for providing the stud io.
D iscl aimer: I ndi vid uals sho uld consult with t heir healt h care pr ovider
before embarking on an exercise program. Any applicatio n o f the material
set forth in the following pages is at th e reader's discretion and is Ius o r her
sole responsib ility.
Contents
Chapter 1:
Tot al Fitness 4-
Chap ter 2:
The Training . . .. 19
Co re Moveme nt s . . . 19
W orko ut M enu 23
Th e Next St age 26
The Exercises 33
Cha pter 4 :
Capoeira Conditioning:
What It I s and Why It's
Good for You
1
CA P O E I RA CO N D I TIO N I N G
Condi tio ning in sports trai ning is used wh en trai ner s refer to
exercises done in addition to the actual practice of the sport involved.
For examp le, a football player who trains with weigh ts and sprints
is "conditio ning" his body for playin g football. It is a rare athlete
tod ay who trains for th eir spo rt solely by doing the sport itself, and
mos t spo rts trainin g involves so me level o f co ndi tioni ng training.
Total Fitness
This is a spor t -specific conditioning program for capo eira sui t-
a ble for capoeira pl ayers and non-capoeira player s al ike.
T h e reaso n wh y a spo rt -specific conditioning program fo r
capo cira is so very effective is beca use the ga me o f capoe ira devel-
ops all " the big 7" of a tota l f itness regime: stre ngth , power, agility,
balan ce , flexibility, cardiovascul ar e nd uran ce, and coord ina tion .
This is why I fclt justified writing, "Capoeira is one of the best all -
around strengt h , flexibili ty, and ae ro b ic exerc ise syste ms on th e
plane r." Because it is, fro m whichever ang le one loo ks at it.
Jogo: Gam e
Roda: Circle w here cepoeira is played
Rep: Repetitions o f a particular exer cise
Cap oeira conditio ning will wo rk. effecti vely for people who have
never done capoeira but would like to use these capoeira tr aini ng
mo vem en ts to get in th e best shape of th eir lives.
"Really! " you may be askin g, "T he best sha pe of my life?"
By doing these simp le capoeira condition ing exercises, you can
develop and maint ain a high level o f useable fitn ess for everyday
livin g. If you are lo oki ng for a capoeira clu b and intend to ge t in
shape prio r to sta rting, this book is also for yo u.
Athle tes and firn ess enth usiasts in a wide range o f spo rts will
find these exercises highly be neficial fo r loo sening up the tightness
sometimes cause d by spo r ts tr aining . T he rhythm ic and physical
compo nen ts of capoeira conditioning arc pe rfect for cress-training.
M.me Ga rrinc ha, Pele's legendar y contemporar y o n the Brazilian
national soccer team , had ama zing "jogo de cin tura" (agility of his
waist) and d ribbling skills o ften said to derive fro m his practi ce of
capoerra.
T hese exercises arc a very usefu l tool for people who already do
capoeira and wo uld like to stay in great co ndition when traveling or
otherwise not able to attend regular classes for on e reason or another.
Anyone who docs capccira will know how dispiriting ir can be enter-
ing th e ro da after tim e away. because the body feels heavy, the feet
are slow, and coordination has decreased . To maintain year-ro und
fitne ss for th e game eve n du ring enforced tim e off, these exercises
provide a soluti on . Many can also be applied to stay in shape while
recuperating from injury, so a player can choose specific exercises to
train while giving an injured body area a rest.
Capoeira co ndi tio ning is a capocira " fitness pill" to take daily to
ensure the machine (th at is, your body) is read y to play th e game of
capoeira or life anyti me, anyp lace, 365 d ays a year.
It shou ld be stressed that you can't learn capoeira fro m a book.
Th at is a basic truth .
6 CA POE IRA C O ND I T I O N I N G
To learn the holistic art form, mu sic, stra tegies, and philosophy,
an individual will n eed a qu alified teacher and fellow students to
p lay t he game with . Yet if you follow the se gu ide lines yo u can use
this book to transform yo urself into someone with th e " pan th er-
like" fi tness and physical conditio n o ra capoeira player, even ifY01~
competi tors who trained smart rath er than long and th is is th e way
man y people wo uld rather tra in in tod ay's world.
Most people spe nd ti me ju ggling various di fferent acti vit ies,
multitasking , o ften com mu ting, attempting to devote quality time
to family, and so forth. Have you ever tried to justify that two-h our
run or tr ip to the gym to a stressed -o ut partner who really doesn't
unde rstand exactly why a six-pa ck rakes preced ence o ver fam ily life
o r an occasional me al to gethe r? And yet you've been behind the
desk all day and if you don't sweat o ut so me of that ene rgy soon
yo u know yo u're going to explode!
Capocira co nditioning can be fitted easily into a co rner o f the
day an d will have you glistening with sweat' and pumping oxygen-
infu sed blo od in JS minu tes flat . N o o ne even needs to know it
ever happe ned . Yo u' ll be ready for a shower and em rela x and get
on wit h yo ur life co nfident t hat training-wise, to day was m ission
acco mplished. Th at 's a promise.
Yo u'll experience a whole body workout and the re is no down-
time. You can do a very effective co nditio ning sessio n in as little as
IS minutes o f active training . To marry people this so unds unreal-
istic, and yet it's completely logical! All you need is a shift in con -
scio usness as to whe ther all t hat LSD o r " m ir ro r-time " is rcnllv
necessar y.
The third g ro up went flat o ut for just fou r s o-second periods , inter-
spersed with a 4-mi nute res t between each burst .
So th e d ifferenti ated tra ining was o f a two -hour d uration fo r
o ne gro up , a In-minute duratio n fo r another, an d a z-minure active
duratio n for th e thi rd .
At the beginning, eac h participan t did an I x.c -mile cycle tim e
trial, and th ey concluded with th e sam e at the end , to measure and
co mpare prog ress after th ree weeks. The results we re all exactly the
same. D espite the h uge t rain ing time d ifferen ce, eve ryon e had
improved to the same degr ee . Furt he r, their V0 2 M ax (the rate at
which thei r muscles ab sorbed ox yge n ) bad also imp roved by an
ide nt ical amount. G ibala co nduded : " Sho rt bouts of ver y intens e
exercise impro ved muscle health and perfo rmance co mparable to
several weeks of end urance traini ng. "
The type o f rraiuiug D r. Gibala was testing is called "hig h-intensity
interval training " (H IlT ). Today, more and more fitness-min ded
peo ple are realizing tha t short, intense exercise sessio ns arc the way
to go fo r th e best ret urn o n a training investment. An impo rtant
p:lper, by Angelo Tr emblay and Claude Bou ch ard , was p ublished
in 191,15 and came to similar con clusio ns as those of Professor Gibala.
Over a six-week period, a " sprint" cycle g ro up d ro pp ed over three
times as much body fur as a slo w, ae ro bic g ro up . T his was despit e
burning o nly approximately half the calories during the active excr-
cise. The aerobic group d id 45-mimn c workouts five tim es a week
at a stead y medium pace. The high-int ensity interval training group
did o n ly 30 mi nutes (inclu ding war m-up and cool-off reco very)
three tim es per week. Yet they burned off tripl e the body fat !
Wh y is it that HnT works so effecti vely? It is because o f a sta te
known as " excessive pos t -exercise oxyge n co nsumption ." In prac -
tice, you have a much higher post -exercise m eta bolic rate following
the intervals. In 1996, a U niversity of Alabam a stu d y found a higher
10 CA PO E t R A CO ND IT ION I NG
The arms are auto ma tically crossed in exactly the same way you have
always cros sed them . You' ve probably done it like that for years. T ry
doing it with the other arm on cop and it feels weird. Th at's th e fas-
cia in actio n , like a body mem o ry. It is the same for many of the
movemen ts we all perfo rm throug ho ut the day, from stan ding , to
walking, eating, brushing ou r tee th , even to making love. If we want
to free up o ur frame, we can begin by remolding the fascia.
About Breathing
You'll notice that durin g many ofth c exercises in this bo o k, d eep
na sa l brea t hing is recomme nded . Breat hing is o ne o f the most
impo rtan t dements o f any effective fitness program, and the aim
of d ee p n asa l "diap h rag m ati c " b reat hing is to d raw air into th e
lower lobes o f the lungs first for a marc effe ctive oxy gen exchange
w hile exercising .
c e poe tre Con d it io n ing : What It Is and W hy It 's Good f or You 13
The D iaphragm.
This is a flat muscle at the base of the lungs . Like all muscles, the
diap hragm will be stre ngthened with correct tra ini ng. When we
inhale, the d iaph ragm contracts and the lower rib cage expands , as
docs the abdomen. Whe n we exhale, the lungs recoil, somewhat
like an inflated balloon whose air is escaping.
If we breathe only thro ug h our mouths in shallow breaths, we fill
the midd le and upper part of our lun gs with oxyge n, bu t ha rdly
ever reach the lower lo bes, wh ere t he bes t blood supply is. Th e
human, like mo st mammals, is mad e for n asal breath ing. Babies
breat he throu gh t heir no ses and o nly turn to mou th breathing
when the nose gets too congested to provide suffici ent oxygen . We
learn mourh breathing 3.<; we grow up and by the time we are adults,
the majori ty of people in o ur society arc shallow bre athers . If we
inhale shallow breaths, parado xically we tend to take in too much
oxygen , and never achieve a co rrect balance betwee n the o xygen
and carbo n dioxide (C0 2 ) in o ur lungs.
At fi rst you may well find it more d ifficult to get the air you need
du ring exercise when breathing th rou gh your nose. Thi s is a mat -
ter o f practice . If you are already in good shape, when yo u start
capocim co nditioning you may need to work at a sligh tly red uced
intensity when breat hing on ly t hrough the no se. After practicing
the method for som e time , you'll be able to train at a high intensity
level, as you engage th e lowest lobes o f your lungs and take stress
off your heart. Yo u can experime nt. l f yo u really wan t to go "eye-
balls out" you might try inhaling through the nose and exhaling
through the mouth. Purists can use the nose for the whole enchi-
lada (the full respiration o f inhalation and exhalation ),
During Strenuous exercise, whe n you gu lp in masses of o xygen
through your mo uth, it goes to the upper and middle part of you r
lungs. Yo ur hear t beat s rapid ly to pus h the blood through your
14- CAPOE IRA COND I TI ON I N G
Breathing Is a Workoztt
'When we ha bitu ally bre athe deeply through th e n atu ral apparatus
for respiration (th e nose), it is an incredibly effective workout for our
abdo minal m uscless, o ur lu ngs, d iaphragm, spine, and rib cage. T he
Capoei ra Co nd it io n i ng : W hat It Is and Why It's Good fo r Yo u 15
rib cage should expa nd and then co ntract with each br eat h . Our
rib cage actually widens as we inhale, and our body lengthens. When
we exhale , it contracts , softens, an d relaxes. If we don't breathe
deeply, the ribs don 't m ove dynamically, and the whole trunk. grad -
ually stiffens up and loses flexibility.
T hink of your torso as a round, upright tu be with th ree hori-
zontal sections . At the base is the pelvic floor, th e ceiling is the
dome of your uppe r rib cage, and th e middle is the diap hragm mus-
cle. Beneath the diaphragm is the abdominal cavity and many impor-
tant organs, in clu d ing yo ur kidneys. Fitting sn ugly above the
diaphragm is the thorax (chest cavity), in which the hear t and lungs
arc contained .
Ou r ribs are attach ed to the spine; with correct deep breat hing
the ribs ge ntly mas sage th e spi ne and internal organs . When we
breathe dee ply d urin g ma ny of the capoeira movements sh ow n in
this book, this massage effect is heightened . If an exercise is a static
pose, rem ember always that we are never litera lly sta tic. Breat h is
movement, and every de ep respir ation increases the flexib ility of
your rib cage and spine, which will ob vio usly increase yo ur overall
mobi lity and fitn ess for capoeira and m any other activities.
Two-Way B en efits
During srrenuous capocira movem ent, inside the body there is a par-
allel game going on, in which accessory m uscles from the legs to the
jaw are wo rking toward op ening and closin g the chest cavity for
greater respiration . Everything is geared toward expanding th e chest .
If we view the body as a mechanical system, this task is made easier
when the rib cage, spine, hips, and shoulders are loose and flexible.
Right there in the middle of your che st is the hear t. Think of it
as a pu mp , and in a long and even o therwise un eventful lifetim e it
will beat an aver age o f two an d a half billion tim es without ever
16 CAPO E I RA COND IT IO N I NG
stopping to take a rest . The heart pumps out aro und 10 pinrs of
blood a min ute when you're resting and more than 70 pints per
m inute d uring strenuous exercise.
The heart is a muscle about the size of a closed fist . It sits right
there atop th e dia phragm and between the lungs; it isn 't JUSt a blob
of pumping m ass doing its th ing ind ependently fro m th e rest of
o ur str uc tu re. T he heart m o ves and changes shape with every sin -
gle one of the millions of br eath s we take . Bad posture and srr uc-
rural im ba lan ces may co mp ress the hea rt an d will also affect the
diaphragm on which it is supported . O n the other hand, good pos-
tu re and a fully expa nding an d co nrractiug rib cage and spine will
e nco urage optimal heart functio n .
During our respirati o n cycle various syste ms arc worki n g simul-
raucously to facilitare blood circu latio n . First t here is the co ro nar y
system, which involves the movemen t of blood between th e four
main cavities of the heart (the at ria an d ventricles ). Then th ere is
th e pu lmonary system , which is respo nsible for the circ ulation of
blood between th e heart and the lungs. Lasr is th e systematic circu-
lation, which invo lves the transport of blood to all the other o rga ns
o f th e body beside s th e heart and lungs.
Bloo d circul atio n th ro ughour the bod y happens via blood ves-
scls (veins, arteries, and capillaries) . T he re are around 100,000 miles
of blood vessels in an average ad ult body! These lie across or under-
neath, o r are surro un de d by mus cles. Re laxed m uscles th at are no t
sti ff and ove rconrrac red won' t sq uee ze an d pinc h rh e blood ves-
sels, meaning rh ey tr ansport blood more effectively.
Via blood vessels (veins), waste -infused blood enters the heart.
By the action of the coronary system the heart pumps blood in to the
pulmonary artery. This leads to the lungs. The waste-in fused blood
co ntai ns ca rb on d ioxi de an d o ther gases . Wi thi n the lungs, t he
miraculous switch oc curs.
c e po etre Conditio ning : What It Is and W hy It's Goo d fo r You 17
Full-Body Breathing
One last pointer concerni ng breathing. In our exercise, we took an
abdominal tension breath, which is a good start for prac ticing nasal
breathing . As yo u do capocira co nditioning, try to develop your
body awareness to a new level.
Remember at t he beginning o f this section we talked about the
"fascia," tha t thin network of connective t issu e envelopi ng th e
bones, muscles, and joints, holding everything together. Because
..
18 CAP O E I RA COND I TIONI NG
it is a collo id , th e co llagen in the fascia can turn from liq uid to solid
and from solid to liq uid. Ten sions within o ur bod ies, wh ich may
become chro nic, will also have the ten de ncy to shorten and ha rde n
the fascia.
O bviously it is not necessary to be im agi ning th e intern al uni-
verse of your body all the t ime while exercising , thou gh from time
to time as you perform these exercises, get really quiet and aware o f
you r breathing. Be aware of your diaphra gm rising and flattening as
yo u exhale and in hale. Be aware that the fascia matrix responds to
the action of you r mu scles as you breathe . Be co nscious that t his
occu rs all over yo ur body, from th e top o f your head to th e soles
of your feet. So breathe long and de ep while your ribs rise and full,
expand and co ntract , your spine lengthening and releasing natu -
rally by th e action of yo ur breathing . Remai n relaxed , even when
you are doing exercises that may seem ar first [0 be primarily strength
building; cons ider all the mo vements co real ly be a stre tch .
Cha pt er 2
The Tr aining
Core Movements
There will be so me emphasis in th e training o n what may be termed
"core movements" in capocira conditioning. "Core movements " in
this context means that the y are the essential bu ilding blocks of this
training system. Another way the wor d "core" is used in relatio n to
training is whe n we talk ab ou t th e bo dy's "core," which usually
refers to th e abdom inal mu scles and the m uscles of the lower back.
Coincide n tally, some of the core moveme nts will co nd ition th e
body's "(are" very effectively, but that isn't why they arc called core
movements.
The cor e movemen ts represeJlt basic,
simple exercises that will wo rk the mus- T he core movem en ts are :
cles and joints you would mainly be using ( NO. 3) Cocorinh a ( squat s)
during th e gam e o f capocira. fu core ( NO.14) Pont e ( back bridg e)
moveme nts, if yo u did absolutely noth -
( No. 25) Au Norma l ( cartw heel)
ing else, these movements alone, done
in sufficie nt quantity, will keep yo u in ( NO. 33/34 ) Plant anda Bananeira
(handstand) and Benanei re
great shape both for playin g the gam e of
Push- Up
capo eira and for living life .
19
b
20 ( AP OEI RA COND ITIO N IN G
Later on you will find a Trai ning Effects Chart to guide you to
particula r exercises that emphasize different areas of overall condi -
tioning. Exe rcises tha t relate to core movements will be shown in
bo ld print an d in parenth eses. If num bers other than (3), (14), (25),
and ( 33/34 ) are shown in bol d print, it is because they are exer-
cises closely related to the core m ovements. For examp le, although
No. 14, the Po nt e (back bridge), is the core movement, N o. I5 (a
Ponte back brid ge with the h eels raised ) and No . 18 ( Ponte back
bridge push -ups) will also be shown in bold prim , as they arc such
d o se rela tives and may be useful for those who find brid ges with
heels do wn difficu lt , or wh o want to lip th e ante with so me mov-
ing bridges.
Co corin ha Sq uats
The squat inc reases en ergy flow, and helps free up tensions in the
pelvis and perineal floor. It gives a gentle stretch to the body's major
m uscles . The sq uat is highly regard ed in bodywork syste ms such
as " polarity theory." It is used to ground us to the earth and indeed
forms th e basis of the " polarity" exer cise forms. T he " utkarasan a"
o r " hunkering posture" is recorded as one of the 32 asanas that arc
the most important in h ath a yoga. Th e way it is so metimes done,
with raised heels and the knees a little apart, is perfect for peo ple
whose an kles are roo right to handle the full cocori nha with heels
pressed into th e floor.
T he cocorinha sq uat can also be uti lized to give us an incredible
leg and card ia wo rko ut. Many co mbat/sport systems base exercise
sessions on th e squat. Ken Shamrock is known to use high -repetition
squats of up to 500 to get his fighters in shape in his training head -
q uar te rs, "T he Lion 's Den ." "T he Hindu Sq uat ," a special and
highly effective variation, has been popularized by th e catch wrestling
and kung fu world champio n Matt Furey. l'
T he T r a i ni ng 21
and streng the n the hips. T here are variations of this mo vem ent in
capocira co nd itioning, though it is th e static ar ms extended back
bridge that is th e core m ovement to concentra te on.
Au N or mal (Cartwheel )
T he basic cartwheel is one of th e first " acroba tic" movements many
people in capoeira Jearn . It is a na tural mo vem ent of th e hum an
body, as is witn essed by its popularity am o ng young children, who
throw th emselves about with it almost as soon as th ey have learned
to walk. It is a playful movement and seemingly simple; however, the
at' is also very subdc and versatile. By turning this inverted whee l
you ca n bu ild coordination and balance skills, build stami na, trim
yo ur waist, st re ngthen th e arm s and sho uld e rs) an d it form s t he
basis of many other types of au in the ga me of capoeira-c-fro r n all
batendo, to au co icc, au q uebrada, all cspinha, and ma ny others.
AU. barc ndo is a cartwheel with a down ward " mar relo 't-c-ham rner
kick-in th e middle o f the: movem ent. Au co icc is a cartwheel th at
delivers a rwo -foored "m ule kick." AU. q uebrad a means an a(1 with
a smash, whe rei n o ne straigh r leg is kicked forward and inward
toward th e capo eirisra's body, while rbey are inverted on o ne hand.
T his is so me times called "bico de papagaio" [00 . The au espinha
is an a(1 whe rein the spine and hips an: rotared d uring th e move -
me nt so that th e hips are centered and facing upward and forward .
l -------'-
The Tra in ing
hze, however fleetin gly, the pos itio n of the bananeira. The handstand
is a key co mpo nent o f gymnastic training, and th e handstand push-
up is o ne o f t he best exercises for totaJ to rso and sho ulder strength.
Gym nast and autho r Dan Millman described in Way ofthe Peacef u l
Warrior ho w he built his srren gth back up again after breaking his
leg in a serious motorcycle crash: " I began a pro gram of exercise,
slowly at fU"S[, then more intensely. . . . I carefully p ressed up to
hands tands, then pumped up and d own, agai n and again, puff-
log wi th exertion until every m uscle had wo rked to its limit and
m y body glistened ... ." . H e we nt o n to beco me a National Col-
legiate Gy mnastic cha mpio n and World Trampoline champion.
0 0'(: again , the movement is used in YOb~ and is known as the
"balanci ng tree pos ture." Banan eira co mes with good. credentials,
and if you want to get strong with a capital S without laying han ds
on a barbell, this is the movem ent for you .
Workou t Menu
The fo llowing co m bination ideas are just a guidel ine . O nce yo u
have some practice with c....pocira co ndi tio ning, or if you arc already
a capocirista, yo u can put togethe r yo ur own co mbinations of exe r-
cises to suit you r sc he d ule and t he time yo u wish co devo te to
capo cira co nd ition ing from d ay to d ay. Given he re are so me
seque nces o f exercises th at provide an all-around workout, and
so m e seq ue nces that yo u ma y en jo y if yo u wan t to p u t special
emph asis on one particular aspect offirness- for example. "a rm,
back, and shoulder capoe ira conditioning," "capoei ra leg cond i-
tion ing ," and so on .
* Millman, Dan . Way ofthe PUlu ful Warrior: A Book Tha t ChatWu LivtJ
(Tiburon, Calif.: H . J. Kramer/ New World Library, 2000), p. 97.
b
24 CAPOE IRA CO NDIT IO N I NG
cobra running flat out to no cheat bridge for four complete turns.
This workout can be completed in 7 lh to 10 minutes to tal.
The Ne xt Stage
H opefully you are beginning to sec a pattern here. The 7 M-min ute
wor kouts are a wake-up call fo r the body. If yo u tend tow ard a
sede ntary lifestyle, why no t break up yo ur day with tw o or th ree
of these 7Yz -minute sessions? If yo u kn ow you are go ing to spend
six or seven hours at the com puter, it 's nor so u nrealistic to spend
a small fraction of th at time do ing capocira cond ition ing ; or a few
minutes befo re breakfast, a few in th e even ing . If yo u' re wo rried
about sweating, familiarize yourself with th e "meialua" wash . Hi t
th e restroom. and a quick upper-body wash with so ap and wate r
ta kes only a couple of minu tes and will ge r rid of any sweat you
ruighr build up du ring a 71h -minutc: workout.
T he key is to combine th e exercises so that every day you bend
th e spi ne for ward , backward, and laterally Also . try to give yo ur
legs some training, as leg strength and endurance are "the gu vno rs"
in capoeira (as they say in England ). The point is to wor k the mus-
cles and mobilize the heart and lun gs int o action . Rem ember a
muscle that d oesn ' t work atrop hies, so any amo u nt o f training,
Th e Tra in ing 27
Anaerobic Training
Anae robic means "with o ut oxygen ." It is short b urs ts of much -
increased exertion followed by a pe rio d of rest. T he di ffer enc e is
that in capocira condit ionin g, while yo u " rest ," you do another set
of exercises, working a different body pa rt while you recover from
you r "oxyge n de bt." Oxygen debt is a situation in whi ch the har d -
working m uscle tissues need mo re oxygen th an t hey have available ,
resulting in a "de bt" of oxygen and anaerobi c respiration. Gcner-
aUy speaking, d uring anaerobic exercise you burn glycogen , which
is sugar converted fro m car bo hydra tes. Anaero bic exercise- as in ,
for example, 50 rap id -fin: coco rinha squ ats (No.3 ) or au no rma l
(No . 25}-wiU raise your basal metabo lism, and it will remain raised
tor a considerable period of time after you have finished exercisin g,
thus burning more calo ries even whe n yo u are back at yo ur desk.
If you have trained anaero bically and are in oxygen debt, you may
need to in hale through your mouth briefly, yet try to brin g yo ur
breathing back under control and begin nasal breathing as you recover
during a new stage ofth e exercise cycle-for example, while you do
no cheat back bridges (No. 20 ) or a bananeira han dstand (No . 33).
hie exe rcise (fo r example , long, stea dy dis tance running) with anaer-
obic exe rcise (speed su rges of hig h in ten sity or hill sprints within
tile run) . The fartl ek effect can easily be u tilized in capocira con-
ditioning. Take a set o f 250 cocori nha squats. At an aero bic pa ce
you will be able to build up to this numbe r in 7ih min utes. But let's
say yo u try to do 250 cocorinha squats in 6 ~ or 7 minutes, by doing
50 or 75 of the m at a vastly increased pace , th us forcing you r body
to wo rk anaerobically T here it is, " capccira fartlek " You call use th is
speed play in any way you want d uring capoei ra conditioning to
wo r k yo ur bod y in a way t hat p uts yo u in t he " excess ive posr-
exe rcise oxygen consu mption" (EPOe) con dition described ea r-
tie r. Be imag inative, as variety keeps the t raini ng inte resting a nd
playful. Remem ber that w e're doing thi s to stay fit, get health y, feel
good , and h ave fun , not to ad d bu rd ens to o ur cares, and cares [0
o ur woes ,
Naturally this is excellent training tor the ga m e of cepoeira itself
where a change o f gea r is o ften ca lled tor insid e the rod a, and if
yo u've do ne it in tra ining, you arc rhar much finer LO do it in the
jogo.
Aerobic Training
Aerobic means " with oxygen. " D r. Kenn eth H . Coop er popular -
ized aerobic exe rcise aft er he p ublis h ed his book A erobics in 1968.
Almost any exercise can be done either anaerobically or aero bically.
Capoeira conditioni ng is no exception . If yo u do these exercises at
a sustainable, steady pace, in creasi ng your hear t rate without enter-
ing oxygen debt, yo u are doing an aerobic exercise.
The benefi ts of aerobic exercise arc well known and manifest
(bur it will no t hu rt to recount them ). You will gain improvements
to yo ur Joo ks, your skin ronc and glow. T here will be increased
oxyge n co nsumptio n and blood vo lume , and lower blood pressure.
Th e Trainin g 29
Yo ur heart will work less with a lo wer resting heart rate . Aerobic
training will fend off depression , and will release stress and tensio n ,
reducing anxiety as yo u produce endorphi ns. Endorphins arc the
natural pain -killing ho rmo nes prod uced by yo ur body during sus-
tained exercise. T hey give you a n atural high and a feeling of well-
being.
Do 500 in 15 minutes .
No. 41 B ~nc;a o
again . Ginga and do the same thing on the other side. Do 100 to
150 in 7~ minutes. T hen:
NO.9 Static Cabecada
The Exercises
For :1 quick reference gu ide and to he lp you make a " no- brainer"
decision on what to do fo r a desired result in any parti cu lar work-
out , each exercise is accompanied by some bu zzwords that describe
what it is mostly effective for. The buzzwords are:
l. Flexibility -stretch
2. Strength
3. P owe r
4. Agi lity
5. Balance
6. Cardia (cardi ovascu lar endurance)
7. Coord in ation
8. Fat Burner
33
34 CAPOE IR A CO ND IT IO N IN G
Strength 9, (14), (15 ), 16, 17, (18 ), 19, 20, 2 1, 22, 24,
(25), 26, 27, 28, 29, 30, 31, (33) , (34) , 35,
36 , 37, 40
Movement
Stand with your feet shoulder-wid th (at least 15 to 20 inches) apart.
Bend yo ur knees and d ro p down into a squat position with yo ur
hands in front of you , crossed at the wrist.
Brea.thing
Brea the d eeply. Tr y nasal breathi ng, inhaling and exhaling o nly
thr ough your nose. Exhale un til you feel you have expelled every last
b reath o f air fro m yo ur lungs , and as yo u exh ale , visualize you r
lo wer spine (sacroiliac joint) relaxing farther toward the floor.
Hold the cocorinha positio n for at least eight breaths.
Poin ters
If you have stiff ankles, squat in the same way, but with YOllr heels
raised on a co uple o f thin books, weight-training plates, o r even a
rolled -up towel.
--,;;
CAPO EIRA CO N D IT I O N I N G
2. Cocorinh a Variat io ns
Flexib ility-stretch.
Movem ent
Rest yo ur chin 011 your ch est for a fuller stretch of th e spine and
Jet yo ur arms rest betw een your legs.
O utstretch your arms and squeeze your shoulder blades togeth er,
lifting your chin for an op posite stretch . You can have yo ur heels
flat o n the ground , or if yo u prefer) raised as they are in the photo -
graph .
If your ankles and legs are so stiff that you find it difficult to bal-
ance without fulli ng over backward, hold a secure table leg o r other
secure o bject for stability.
Breathi11;!j
A5 for cocorin ha.
Pointers
Once again, let yo ur tailbone d rop low. While yo u ho ld o nto an
o bject for stability you can rotat e aro u nd slig htly and wo rk all
releasing tension in yo ur lower spine .
Movement
Stand with your feet sh o uld er-width apa rt . Bend you r knees and
drop down into a squat position with your hands in fro nt of you,
crossed at the wrist. Stand up again, bringing yo ur arms above your
he ad and reachi ng toward the sky for a full st retch o f t he spine.
Repeat . Shoot for 175 in 5 m inutes, 350 in 10 minu tes, o r 500 in
15 min utes.
Breathing
Exhale o n the way down. In hale o n the way up . In all exercises try
nasal breathing, or if you find that difficult, in hale th rough the nose
and exhale th ro ug h the mouth .
The Exe rc is e s 41
Pointers
Let yo ur hips drop as low as possible. Tr y not to bend for ward on
the way down, o r on the way up . Keep yo ur head upri ght an d
aligned with your spine . [f your ankle s are not flexible en ough to
fully squat with yo ur heels o n the floo r, yo u can raise your heels
and squat on yo ur toes.
Movement
Stand with yo ur feet shoulder-width apar t with your kn ees slightly
bent. Slide one leg back and rest mos t ofyour weigh t on th e ball of
your back foot, wi th th e heel up. T he sole of your front foot should
be flat on the floor (both knees remain bent throu ghout th e who le
seq ue nce) . Sim ultaneo usly raise yo ur arm and hand and swing it
to the front o f your face or chest on the same side as your back leg .
Transfer yo ur weight back to the front foot, simultaneously slid-
ing the back fo ot to its original parallel posi tio n. Switch arms and
legs so th at YO llr ot her foot slides back and yo ur o the r arm swings
up in fro nt o f your bo dy.
The Exercises 4-3
Breathing
Breathe freely.
Pointers
Don't drop the back heel. Be on the ball of the back foot. Lean
forward slightly at all times in the ginga, and remember it's a dance
step, so get into a rhythm and swing from side to side. "Ginger"
is the verb "to swing" in Portuguese.
Don't straighten t he front leg or raise the front toes when you
do ginga . Note: The description says to slide your foot back; it
doesn't have to keep contact with the floor, although it doesn 't rise
very high either, maybe just one or two inches .
'C ~
l' .
-
.... ~- ..
44 (APOE IRA CO ND ITI O NI NG
Movemen t
Do ginga in a similar way to the regul a r movem ent , except when
your weight is o n the ball of the back right foo t, twis t at the waist
to your left, taking your left ann straight o ut beh ind you and look-
ing over your left sho ulde r.
Stay in this po sition for a bear and then shift back to the frontal
position , swap legsas in regular ginga , and when your left foot is hilly
extended back, twist to the righ t in the Same way, righ t arm extended
be hind yo u and looking over yo ur right sho ulde r.
Breathing
Br eathe freely.
Poin ters
T wist fully and try to reach back and ro tate yo ur waist , spine, and
neck as fur as yo u call fo r ma xim um be nefit . Im agine yo u arc wring-
ing Water from a towel as yo u twist your wais t.
Movemen t
This is based on a similar prin ciple to th e last exercise; th e differ -
ence is th at }'OU tw ist coward yo ur back leg rathe r tha n away fro m
it. rn the photo , t he capocirista begins with his left leg back and
straight and right k g front and be nt (as in a ginga). H e then fully
ro tates first h is head , t hen sho ulde rs, then waist, all to the left, in a
s ou-d egree rotation , and swivels on his feet, so that his righ t leg is
straight ened and left leg bent. H e ends lip loo king to the fro nt
again, having rotated as far as he can witho ut taking a step. T hen
co me back to th e o riginal positio n , do o ne ginga to ch ange fee t,
and repeat t he movement in the opposite direction .
Breathing
Breath e frccl y.
Poin ters
In the ph oto, it looks as if the player has take n a step . He hasn 't.
I t is the fuU s on-degree twist of the head and torso, an d the swivel
o n the feet that gives this impression . A step co mes only when th e
player centers up again , and does a single ginga to change feet to do
the exercise in the othe r directio n .
..
CA PO EI RA C O ND ITIONIN G
M ovement
In this tough exercise yo u com bine No . 3 and No.4 togeth er for
a very effective wo rko ut. Begin in basic coco rinha position and as
you come up slide your right leg back into a ginga movement . O nce
the right leg co mes forward and parallel again, drop into cocor -
inha. Spring up, sliding th e left foot to t he back. Alternate using
ginga from side to side with a cocorin ha in the middle positio n.
Breathing
Tr y nasal breathing: exhale o n th e way d own, and inhale on the
way up.
Poin ters
Get into a rhyth m with this and shoo t for LOO reps in 5 minutes,
200 in 10 min utes, or 300 (even more if yo u're very conditioned ) in
15 min utes. Co unt each drop into cocorinha as a single repetition.
You can also do the coc o n nha-ginga co mbinatio n with a reverse
twist (No. 5) or ginga with a fu Utwist at the waist (No. 6).
Movement
H old your arms stra ight out in fro nt of you at shou lder height with
the wrists bent a.nd fing ers pointing upward . Rotate wrists so the
fingers move inward , the n down ward , th en outward . Ro tat e 25
times in this d irection , and then 25 tim es in the other direction.
Breathing
Breathe freely.
Pointers
You may find that yo u r shoulders, for ear ms, and wrists become
fatigued by doi ng the recommen ded 50 reps total. Persevere and
try to focus on putting the wrists through the fullest range of move-
ment. If you get tired , slow down, breathe deeply, and try to relax
yo ur shoulders as you rotate your wrists.
T he Exe rc ise s 5'
\i,I~,
'
S2 C AP O E I RA CO N D I T IO NI NG
M ovement
Start in a cocorinha and lunge forward slowly, walking you r hands
into a static push- up position . Keep yo ur head , spine, pelvis, and
straight legs in alignment. A variation is to rep eat the walk from
cccorinha into sratic cabccada, back and forth slowly an d with con-
trol as many tim es as yo u like. Just start in the squat, tip forward
placing your palms on th e fl oor , and walk forward on your han ds,
keeping the balJs of the feet where th ey are. Th en when the body
is fully extended in the cabccada, walk back on the hands and resume
th e o rigina l cocorin ha sq uat position . Repeat 10, 20, or 30 times.
Breathing
O nce yo u are in position try to take between 6 and 10 deep inhala-
tio ns and exha lations th ro ugh the no se.
Pointers
Try no t to sag at the waist . As well as stretchi ng your wrisrs, thi s
will give you a powerful contractio n in your shoulders. Stretch your
fi ngers wide and concentrate as you breath e; feel the fl ow of energy
d own your ar ms into yo ur hands as you exhale.
Movement
Place th e back of your hands against the wall and lean against them
with straight arm s to get an opposite stretch to the previous move-
ment.
Breathing
Sim ilar to N o . 9 .
Pointers
Keep your arms straight and ge t an increased stretch by raising the
level of yo ur bands upward fro m the floor.
Mo vement
Stan d leaning against the wall with yo ur arms straight an d palms
flat against the wall, fingers po inting u pward .
Breathing
Similar to No . 9 .
Pointers
By lo wering yo ur hands and the angle of you r arm s you will increase
the angle o f the stretch on your wrist .
~'. ~if:.:~!i;~:!'~Ci;;,~
.;
~'
58 ( APO EI R A CO ND ITIO N I N G
Movement
Stand with your back to a wall, arch yo ur back, and st retch your
arms upward and backward so that th e palms of your hands touch
th e wall when yo ur arms are straight. Keep your feet flat on th e
flo or, parallel, and approximately shoulder-width apart.
Breathing
Six deep inhal ations and exh alatio ns through the nostrils.
Pointers
Make sure you stand neither too far from nor tOO d ose to the wall.
Position yourself so yo u can comfortably reach t he wall and per-
form a full stretch with your straigh t arms back. Look back at the
wall for a full stretch from the base of your spine to your neck.
M ovement
Stand upright and ben d for ward from the waist, touchi ng the palms
o f yo ur hands 0 11 th e floor in fro nt of yo ur feet , if possib le. For
people with stiff legs , keep th em slightly bent and feel the stretch at
the back o f your pelvis. I f yo u arc supple, keep the kn ees strai ght
for a full stretch.
Breathing
Dee p nasal br eathing for 6 breaths.
Pointers
When you exhale) allow yo ur head and sho ulders to d rop down -
ward toward yo ur feet .
Movement
Lie flat 0 11 your back. Raise yo u r elbows and press the palms o f
your hands onto the floor by your cars, so that the tips of your fin-
gers are d irec ted toward yo ur feet . Bend yo ur knees so that your
feet are drawn up against yo ur bu ttocks. Yo ur feet and lower legs
sho uld be app roxima tely sho ulder-wid th apar r and parallel.
As yo u exhale , raise yo ur pel vis and to rso an d straighte n o ut
you r arms so that yo ur head rises from th e floo r, arms straight . In
the full versio n , the soles o f yo ur feet remain flat on th e 1100 1'.
To co me o u t of the bridge bring your chin to yo ur chest and
slowly lower yourself o nto your sho ulde rs, then lie flat , or roll up
o nto your feet in to a coco rinha.
Breathing
While hold ing the bridge, breathe deeply throu gh t he nose. T ry
for 3, 6, or 10 fu ll, deep breaths. Always foc us on brea th ing; while
you arc brid gin g . If yo u are stiff and hold your breath o r tr y to
force the movement , it will make it more difficult.
Pointers
If yo u are on a slippe r y fl oo r and eith er yo ur ha nds or yo ur feet
keep slipp ing, try wearing th in ru b be r-so led shoes and wet t he
palms of yo ur hands slightly so they don 't slip. Relax yo ur head so
it drops down nat urally between yo ur ar ms.
The Exe rcises
Movement
Lie Hat o n you r back. Raise you r elb ow s and p ress the palms of
yo ur hands onto the floor by your cars, so that the tips ofyour fin -
gers arc di rected toward yo ur feet. Bend yo ur knees so tha t your
feet arc d rawn up again st your buttocks . Your feet and lower legs
shou ld be approximately sho ulder-wid th apart and parallel.
As yo u exhal e, raise you r pelvis and to rso an d straig hten o ut
your arm s so that yo ur head rises fro m the fl oor, arms straigh t. I n
this (the easier) versio n , raise you r heels and support yo urself 0 11
the balls of you r feet.
To co me out o f the brid ge bring yo ur ch in to yo ur chest and
slow ly lower you rself onto your shoulde rs, the n lie flat, or ro ll up
on to yo ur feet into a coco rinha.
Breathing
While ho lding the bridge, breath e dee ply t hro ugh the nose. Try
for 3, 6, or 10 full, d eep breaths. Always focus on bre athing while
you arc brid ging . If yo u are stiff and hold your breat h o r try to
force th e movemen t, it will make it more difficult.
Pointers
If yo u are on a slippe ry floor and eit her your hand s o r yo ur feet
keep slipp ing, try wearing th in rubbe r-soled shoes and wet th e
palms o f your han ds slightly so they don't slip. Relax you r h ead so
it d rops down naturally between your arms. This on -your-toes ver-
sion is an easier o prio n for people who are stiffer in their hips or
shou lders.
T he Exercise s 65
Movement
T his is the same as for t he basic bridge or the basic bridge o n yo ur
roes . In this case yo u can wo rk with :I. par m er who will sta nd at
yo ur head ; once you have reached your full length wit h rho bridge,
th ey pu t the ir hand und er you r should er blades and gentl y pu ll up
to assist you in lockin g o ut your arms for t he full stretch .
Breathing
While hold ing the bridge, breat he deeply t hrough the nose. T ry
for 3, 6, o r 10 fuJ I, deep breaths. Always foc us 0 11 breat hing while you
arc bridging . If yo u are stiff and hold yo ur bre ath or tr y to fo rce
th e movement, it will m ake it more difficult.
Poin ters
The person suppo rting sho uld not be pulling you up as if hoisting
a heavy o bject . They assist your own effo rt and whe n you reach a
stickin g po int (for ins tance, yo ur el bows arc st ill ve ry bent), they
ge ntl y pull to assist yo u in stra ightening them . If the)' hoist , th ey
will merely lift you r hand s o ff the floo r o r d rag yo u along . T he
assiste d str etch can be done with h eels up o r down , thou gh heels
down g ives you the longer str etch.
M ovement
Begin this as if for a basic back bridge and th en p ush lip into the
full bridge. Raise one leg toward the ceiling and hold th e po sition .
Lo wer the leg again and get stable, then raise the othe r leg. Thi s
can be done with yo ur sup por ting foot flat, or o n yo ur roes.
Breathing
Gauge how lo ng yo u hold the raised -leg position by cou nti ng yo ur
breaths. For example, yo u mig ht tr y holding each leg high for"
counr o f S full cy cles o f inha larion and exhalatio n .
Pointers
Keep driving your hips upward as yo u raise your leg, as if you arc
pushing the ball o f your extend ed foor toward the ceiling.
Movement
D o a full basic back bridge. At th e end o f the movem ent , take your
chin to yo ur chest and lower yourself un til you r shoulders to uch the
floor, then dro p yo ur h ips and lo wer your back flat on t he floor.
Immediately raise your hips and pu sh straight back up again to a
full bridge with arms locked our straight. Repeat 10, 20, or 30 times.
Breathing
Inhale o n the way down , and exhale on the way up . Try to ge t into
a groove, inh aling and exha ling in time wit h the back bridge push-
ups. If you find full na sal breathing difficult, inhale through yo ur
nose and exhale th ro ugh your mouth .
Pointers
Yo u can vary this by p ressing up an d down o nly from your shou l-
ders, without lowe ring your back between each rep. Remem ber to
dip yo ur chin in onto your chen so yo ur shoulders reach th e floo r.
This variation is a bridge p ush -up you ca rl do at a rapi d pace to
build springiness and power into your shoulders . You migh t tr y the
regu lar bac k bridge push-up s more slowly, co ncen trating o n yo ur
breath ing and squeezing o ur the movement at the top of the bridge .
M ovement
From a fuU bridge position raise one ann and lay it on yo ur chest.
Replace it and change arm to the other side. l fyo u feci inspired,
try lo wering for a one- ar med bridge push-up. T his is an advanced
movement and will be interesting as a var iatio n only to th ose who
arc vcry confident in the o ther exercises o f the brid ge sequence.
Breathing
Inhale on the way dow n , and exhale on th e way up . T ry to get int o
a gro ove, inhaling and exhaling in time with the one-arm ed bridge
pu sh -ups. If yo u find full nasal breath ing difficu lt , in hale through
yo ur nose and exhale thro ugh yo ur mouth .
Pointers
Use your fi ngertips to maintain your balance, an d keep th e fingers
spread as wide as possible to help with th is.
20 . No Cheat Br idg e
Flexib ili ty-stretch. Balance. Strength. Coordination.
Movemen t
Tills is called a no cheat bridge because in capocira you don't to uch
your back to the gro und . Start in cocorinha, and place yo ur lett
hand 0 11 the floo r be h ind your left foo t. Raise yo ur hips as high as
you can and reach back over yo ur head with your right hand , loo k-
ing behi nd you rself be twe en your arms. Keepi ng your hips hig h,
place th e: rig ht hand o n the floor pa rallel with yo ur left hand . T he
fingertips o f yo ur two hand s should be poin ted to ward each other.
N ow rest th e weigh t o n you r righ t hand , bring up th e left hand ,
drop you r hips, and move into a cocorinh a . Re pea t t he same
seq uen ce back in the other d irectio n .
Breathing
Breathe freely.
Pointers
Alway s do t he wrist wa rm -up (No . 8- 11) before doing thi s mo ve-
mcur and preferably the gin ga with a reverse twist (N o . 5) to warm
up yo ur wa ist a nd sho ulders. T his is an exe rcise best done whi te
you arc fully wa rmed up . Note th at by aim ing th e: finge rtips of th e
two hands toward each o ther yo u will avoid twisting your wr ists.
If yo u find it ve ry di fficult, simply get to the stage whe re you reach
back, hold th at position, taking 5 deep breat hs, and then drop your
hips and go into coco rinha again, repeating; this on the other side.
As your body ada pts, you can move o n to the full movem ent.
21 . Wa ll W heel Bridge
Flexi bility-stretc h . Strength . Balance.
M ovement
Get into a position with yo ur back to the wall, as in t he basic bridge
warm-up (No. 12). Lea n back and press th e palms of your hands
against th e wall, then hand by hand , walk yourself down until th e
cro wn of your head is on the floor. I m mediatel y walk yourself up
again un til yo u arc standing relaxed . Do 5 or 10 repetiti ons of the
wall wheel bridge .
Breathing
Breathe freely.
T he ax e rctses 77
Poin ters
Safety is an issue here as you do not wan t [Q slip down th e wall and
bang yo ur head on the floor. M ake sure yo u ar e a good distance
from the wall, n o t tOO far, not toe dose. Lead with your hands so
that th ey get to th e floor before yo ur head does. Don't sta nd o n a
rug that moves or do this against a door tha t someo ne might open.
If your hands arc slippery, moisten them sligh tly so they don 't slip
on the wall.
..
CAPO E IRA CO ND I TI ON IN G
Movement
Do the basic back bridge and then walk fo rward one hand and o ne
foo t at a time . If yo u are in an enclosed space, walk forward a few
steps and th en walk backward a few steps . Try to continue bridge
walking for 2 o r 3 min utes , afte r which time y O ll will probably be
exhausted, and you can lie flat on your back and squeeze your knees
up to your chest.
Breathing
Breathe freely.
Pointers
For most peo ple this is a tou gh exercise, so work slo wly but surely.
Tr y to breathe and focus and enjoy each step, thinking ho w much
mo re lithe and flexible it is making you, rather tha n yearnin g for it
to be over. In t his way you gain maximum benef it fro m the move-
m cnt a nd it's more fun. Keep you r neck relaxed wit h your head
hanging down between you r arms.
M ovement
Sta nd with yo ur teet sho ulde r-wid th apart , feet paralicI. Bend one
knee and support yo ur weig ht o n the pa lm o f yo ur hand o n the
same side as your bent knee. For a full stretch y O lI can extend yo ur
othe r arm o ur straight beyond your head . Keep your hips low and
hold the positio n for 6 breaths. C hange and do th e same thing to
the ot her side.
Breathing
Take deep breath s thro ugh th e nose.
Poin ters
T he foo t o f the ben t leg can be poi nted outward slightly in align-
ment with the leg . T he other leg sho uld be completely straight and
th e hips low. Do n' t let your upper shoulder slouch fo rwa rd, and
try to keep your who le bod y in alignment .
24 . AU W arm-Up
Flexibility-stret ch . Stre ngth. Balance.
Movement
Do th e csq uiva late ral (N o. 23) position . Place th e palm o f your
ou tstretched arm beyond your head and on to the floo r. Raise your
straight leg and po int the toe. Hold the pos itio n for 6 breaths, and
the n drop back into the csq uiva late ral position . Yo u can do the
wholc sequence six ti mes, th ree to the left and three to the right .
Breathing
D o deep nasal breathing, co ncentrati ng on staying relaxed whi le
ho lding your balance.
Pointers
Your weigh t should be eq ually distributed between yo ur two han ds
and your support foot . Keep the uppe r foot's toe po inted to give a
stretch to the ankl e. To give an extra stretch to your calf and sup-
parr leg , yo u can rise up and down o n the toe of th at foot a few
time s if you like. You r support leg will straigh ten in th is movement,
an d then revert to its be n t position wh en yo u d rop into esq uiva
lateral again.
25 . Au Normal (cartwheel)
Fl exi bility-stretch. Strength . Balance. Agility. Cardio.
Fat Burner. Coordinatio n .
Movem ent
Stand with feet sho ulde r-wid th apart . Do csquiva lateral (No. 23),
then au war m -up (N o. 24 ), launch ove r in a cartw heel so yo u e nd
up in an austretch o n the other side, drop into an csquiva lateral on
tha t side, and come up into a standing position . Do th e same thing
back in th e other d irection. Repeat 10, 20, or 30 rimes. Always all
in both directions to develop balance in your mus culature.
Breathing
Breathe frecly.
Poin ters
As y O ll see, the all is a cartwheel. Wh en yo u do this have you r inner
support hand q uite close to your foo t on takeoff and landin g . Keep
your legs straight and lise th e waist for precision and mo mentum on
the way over. Remember, you control the cartwheel-th e cartwheel
doesn 't co ntrol you. Always all a n the flat palms of your hands (and
warm up you r wrists first ). Safety co nsidera tion : M ake sure you
have plenty o f ro om fo r this exercise, so if you ru m ble otT balance
you do n' t hit anyth ing .
You can vary this by doing an all normal, but keep the palms of
yo ur ha nds on the floor and simp ly aLI from side to side, working
your waist with the bo dy always align ed ( t he hands rem ain on th e
ground as yo u flip from side to side, 10 to 20 repetitions). This vari-
arion is a great aerobic exercise and will build strength in you r arms
and flexibility in your spine and hips.
The Exe rc ises 85
26 . Au W a lkbac k
Fl exibility-stretch. Stren gth. Balance. Agility. C ar di o .
Fa t Burn er. Coo rdination.
Movement
This movemen t is exactly the same in practice as au nor mal, th ough
becau se you st ep back for th e initial pushoff yo u sta y in the same
spot as yo u do the movem en t.
Stan d with you r feet sho ulder-width apart. Ste p one leg back
behind the other and place th e flat palm o f your hand on the floo r.
Lift yo ur fro nt leg and push o ff from the back leg into an au. If
yo u push off from yo ur left leg yo u will land o n the righ t and vice
versa.
Breathing
Breathe freely.
Pointers
T his is an exe rcise yo u can do in a sm all space (because yo u stay in
th e same spot ). Lan d as lightly as you can . Once you have learned
to land lightly and stay in the same spot, you can even do it in a
sm all ha rd room. Use yo ur waist as m uch as yo u can an d learn to
flip your body fro m side to side keepin g the band s d ose to the feet
and d oing mos t o f the work with th e waist .
27, AU Push-U ps
Flexibility-stretch . Strength. Balan ce. Cardi o .
Movement
Start off in au warm -up (No. 24) position. Bend both your arms
and to uc h the top of your head on the fl oor, then push back up
into the straight-armed 01 (1 warm -up position. Repe at 10 tim es co
the righ t and 10 times to the left,
Breathing
Inhale on the way down, and exhale as you push back up.
Pointers
Have yo ur hands firmly planted o n their palms. Tr y to lock both
arms ou t stra ight when you reach the top of the mo veme nt. Keep
your whole body in alignm ent. Go up an d down slowly and steadily,
in unison wit h yo ur breat hing.
"...
.~:" '\
90 CA P O E I RA C ON D IT IO N IN G
28 , Au Pist ols
Flexi bility-stretch. Power. Strength . Balan ce.
Card ia. Fat Burner. Coor dination .
Movement
Do au normal (No . 25 ), launchin g o ff from your right foo t , land -
ing on you r left foot . When yo u land o n yo ur left foo t , keep th e
righ t leg extended o ut dir ectly in fro nt of you . Drop into a on e-
legged squa t and push up again. With out pu tting your right leg on
the gro und , launch into an ali normal ill rhc other direction , land-
ing on yo ur right fo ot. Do th e sq uat (pisto l) with left leg exten ded
and come up again , th en back in th e ot her di rec tion . Rep eat the
move m ent 10, 20, o r 30 tim es.
Breathing
Breath e freely.
The Exe rc ises 91
Pointers
You can up th e intensit y of this seq uence by increasing th e repeti -
rion of p isto ls between au normals. For example, d o five pistol
squats betw een aus instead of one. Keep yo ur extend ed leg directly
ou t straigh t in fro nt of you, and you can bring your hands forward
for balance. Keep you r supporti ng foo t flat to maximize balan ce
and the stretch for your an kle.
Movem ent
Do an csq uiva lateral positio n. Stre tch o ne ann out beyond yo ur
head and place th e palm of the hand o n the floor. T urn the kn ee
of your bent leg inward and drop down low so t hat you are virt u-
ally parallel with the floor. Yo u arc looking to the fro nt with your
head poised in the midd le o f yo ur arms. Come up into cocoriuha
and do the same th in g to the Other sid e. Rep eat t he p rocess 10
times .
Breathing
Inh ale as you move into the positi on, and exhale as yo u move back
up into the cocori nha . It is also advisable to hold the position for two
o r t hree inhalat ions an d exh alatio ns, to get a st atic wo rkou t fo r
stre ng th , a good stretch, and end urance .
Pointers
D o n't lay on the gr o und here. Your h ip a nd lowe r leg sho uldn ' t
be to uching the floor, b ut poised just above it . Ge t into a groove and
switch from side to side more rapidly tor a good stre ngth-build ing
workout th at will increase aerobic capacity.
Movemen t
Cocorinha (N o . 1), the n d o a negative lateral (N o . 29 ) and place
t he c rown o f yo ur head o n the floor between your hands . Arching
your back a little, walk yo ur feet and trunk arou nd behind you in a
semi-circle (keeping yo ur head and th e palms of your hands on the
ground ) until you arc in a ncgativa lateral o n th e o ther side, the n
push LIp into a cocorinha (No . 1) again . D o exactly the sam e th ing
back in th e other directio n.
Breathing
Breath e de eply and freely.
Poin ters
Face the front all th e way th rough this movemen t. It is your who le
body tha t is moving 180 degrees in a semi-circle back behind yo ur
head , while your head stays in exactly the same place, between yo ur
hands, facing in th e same direction . Work slowly and steadily, breath-
ing fo r concentra tion. If you reach a sticking point, tr y not to col-
lapse and give up, bur relax an d analyze th e situation, thinking what
you have to do with yo ur feet, hips, and waist to get your trunk
around to the o rhe r side.
M ovemen t
T his movement, [ike ncgativa lateral , is perfect for the low game
of capoeira (jogo de baixo ). Yo u begin the movement in th e same
way as N o . 30, but th is time d o no t place the crown o f yo ur head
on the fl oor. Instead , bring your chin in to you r chest, so that your
bod y weigh t is distribu ted between your han ds and feet . Walk your
feet around in a sem i-circle behind yourself wh ile maintaining your
bod y weight evenly betw een hands and feet. TIle back of your head
sho uld be poised parall el to the floor, an inch or two above th e
floor, all the way throug h the moveme nt .
Breathing
As for No. 30 .
Pointe rs
The sam e as for N o . 30, an d the angl e o f your head will rem ain so
you can loo k i.n front of yo u i.n between your arms and hands . Do
not rest the back of your head and shoul ders on th e floo r, although
it's possible they ma y brush against the floo r lightly as you do the
mo vement. Your hips remain q uire low during m ocnda; it is a dif-
ferent movem ent from the bridge (where the hips are thrust higher).
M ovement
This is a fro nt kick delivered from the floor. Do a cocori nh a (No .
J). Keeping your feet flat on the flo or, tip back o nto yo ur hands,
with your fingertips directed away from yo ur bod y. You r body
weight is now evenly distributed between your two hands and two
feet , hence the name "queda de quatro" (falling on four ). Imme-
diately raise one leg and thrust it upward with your hips. Th is thrust
upwar d o f yo ur st raight leg is th e kick called " ch apa. " Collapse
your hips back down into qucda de quatro again and thrust lip your
straight leg kick o n th e o th er side . Th is can be do ne from a flat
foot or o n the to es, as demo nstrated in the photo. Repeat side to
side stead ily.
Th e Exe rc ises 99
Breathing
Inhale in queda de quatro and exhale as you thr ust up in to the
chapa kick. O r you can hold the movement at the top o f the kick. and
remain static for 5 or 6 deep inhalatio ns an d exhalations while in
the chapa position. In the latter exercise, just remember to exhale
on th e way I Ip and inhale o n the way down .
Poin ters
T hrust you r hips as high as yo u can an d straighten yo ur kicking
leg .
>,
r '.
' 00 ( A POE I R A C O N D I T I O N ING
Movement
Planranda bananci ra in capoc ira means to plant a banan a tree. I t's
a handstand . Do this movement against the wall for training, and as
you build strength and balance, you can work away nom th e wall.
Place yo ur han d s in fro nt o f th e wall abo ut 5 to 10 inc hes away
from it, fi ngertips facing t he wall and hand s shoulder-wid th apar t.
Push up into a handstand with your heels resting against me wall,
legs straight, body straigh t and in full alig nm ent , head facing fo rward
between yo ur arms. Hold th e position for 10 deep breath s.
Breathing
Breath e deeply th ro ug h the nose.
Pointers
Stay centered and don 't allow you r legs to lean to one side wh ile
holdi ng t he movem en t . Keep your elbow s locked and tr y to grip
the floor with wide-open fingertips. It is yo ur fingers that will do the
work of balance in th is han dstand, while the heel of yo ur hand is
simply a pad th at helps sup po rt your weight. H o ld the position as
long as it feels O K; when your stre ngth begins to wane , push off
from the wall with your feet, bend at the waist, and land back on
yo ur feet as lightly as you can .
The Exe rci ses 101
M ovement
D o a bananeira (No . 33) ag ainst th e wa ll. Slow ly lo wer yo urself
unti l th e crown of your head touches the g ro und Lightl y. I mmedi-
ately push lip into the ba nanc ira again, with yo ur elbows lock ed .
Keep your bo dy str aight and in alignmen t the whole ti me.
Breathing
i nhale o n the way down; exha le on the way up .
Poin ters
Always leave a repetitio n in reser ve, and try nor to do t his exercise
to fail ure. If yo u can do 3 reps, do 2 instead . If y OLI can do 12, do on ly
10 o r I I. You can always maximize your total reps by doing more
sets. For example, do a set of 5 banancira push-ups (even
though you co uld probably man age 7). Come down and
do a few coco rinha squ ats or stretches while you rest yo ur
sho ulde rs for a couple of m inutes, then go up and do
another set of 5 repetitio ns o f the banan eira pus h-up.
Repeat this who le seque nce fo r lO sets an d you've
achieved 50 repe titions of th e banaueira push-up (an d a
few hundred cocorinha squats in the bargain ), rather th an
half the amount you migh t m anage if yo u always do rhc
reps to failure for each set.
Note: As soon as your head touches the ground, push
up; if yo u hang aroun d down there resti ng weight on
your head , it is mu ch more difficult to push up .
Th e Exe rci ses
'3
Safety n ote: Do not dive-bomb the ground with the top of your
head or you may injure your neck. Lowe r yourself slowly and steadily,
con centrating on your breathing. Ifyo u can't do a single bananeira
push-up, simply do a banane ira handstand and slowly lower your-
self until the crown o f your h ea d m akes contact with the floor.
'When th is happe ns drop your feet to the floor ge ntly and stand up.
Th e ac t of lowerin g your body weight in a co n trolled way will
in crease yo ur strength until you are ready for the full ban ane ira
pus h -up .
M ovement
D o a banan cira an d drop your legs to eit her side, H old the posi-
tion fo r 6 to 10 deep breaths.
Breathi'W
Regular deep nasal breathing .
Poin ters
H old your body stab le and don't lean to o ne side. As yo u exh ale,
feel yo ur legs op ening wider as yo u relax the m uscles, T ry to hold
the positio n for a co uple of minutes if yo u can .
"
.... ,
" " .
. .'.".;
10 6 CA POEIRA COND I T IO N I NG
36 . Queda de Rins
Strength . Balance.
Movement
Do the au warm-up (No . 24). Drop down slowly unti l yo ur waist
or hip bone is resti ng on yo ur inside elb ow. The fingertips of th e
support hand o n which yo u are resting will be facing bac kward,
away from your body. Bring in both k nees until your body weight
is resting o n your sup port elbow, H o ld th e position fo r a co up le
of deep breaths and th en push back up into the all warm -up posi-
tion (N o . 24 ) aga in. Flip over to th e other side in an all normal
(No . 25) and do the same th ing (qued a de rins) on th e o ther side,
Breathing
Breathe freely.
Pointers
Always war m up yo ur wrists before th is movem ent. Don 't allow
yo ur elbow to slip lip behind yo ur back, bu t keep it slotted right
into yo ur waist so that it can suppor t your weight. Whe n yo u do
t he q ueda de rins, brin g yo ur kne es toge ther and res t securely,
breathin g deep ly.
Movement
Ge t into th e regu lar cab ccada position (No.9 ). Lowe r yourself to
the botto m position of a push-up, at the sam e time swin ging one leg
o ut to the side along the ground. Rise up again and tak e th e leg
back. Lo wer again, swinging the o ther leg out to the side. Rise up,
brin ging it in o nce more. Repeat from side to side . As a variation of
this exercise and to maxim ize the di fficulty o f the weight resistance
(to increase strength and balance), each time yo u chan ge legs, put
th e arm that' s on th e sam e side as the outside leg behind your back
and do one-ann push -ups.
Breathini;
I nhale on the way down and exhale o n the way up.
Pointers
Touch yo u r ches t to the floor b u t don't lie on the floor. Swin g you r
leg out as far as it will go to maximize your stretch. Keep yo ur body
aligned and stable as yon move up and down in the push -up.
M ovement
Sit on the floor and sprea d yo ur legs as widely as yo u can . Yo ur
roe s can be either pointed O llt to th e side or pointed at the ceiling .
Bend to one side and grab you r foot with both hands, keeping yo ur
chest pointing [0 th e front . Take 6 deep breaths and then com e up
slowly and stretch to the o ther side, repeating th e stretch .
Breathing
Deep nasal breathing.
Pointers
Try to pull back your toes ) push your heel s out, and lay your whole
torso along th e length of your leg, holdin g the foot with bo th hands
to increase the side st retch. Your ear can be lyin g o n yo ur shin by
th e en d of the co mplete d movem en t . Ease into the stre tch and
don't attempt to for ce yourself into a po sitio n by hunch ing over
forward o r forcing yourself beyo nd wha t is co mfortable. Breath -
ing will help enormously, and as yo u exh ale. feel your muscles soft -
ening so yo u fall further into the fully stretched-out side split twist .
"
112 CA P O E I R A CON DI T IO NI NG
Movement
Sit o n the floo r wit h your legs split o pe n as wide as you can com -
fo rta bly get th em. Keepin g yo ur chin up, slo wly walk yo ur hands tor-
ward , tr ying to tak e your navel to the gro und . I n the final stretch
yo ur whole tr unk, fro m navel to chin, will be resting fo rward on
th e gro und , with yo ur ar ms o utstretch ed in fron t of yo u .
Breathing
D ee p na sal breat hing. Allo w g ravity to hel p you as yo u ima gine
your lower back and inner thighs so ftening , sinking farther forward
as yo u exhale fully,
Pointers
T ry not to h unch over fo rward in all attempt to ge t your fore head
to the floor. Keep a totally positive atti tu de and re member that with
practice and correct for m, you will be able to achieve stre tches that
at first may seem beyo nd your reach. Don't st rain with this exer-
cise. Forget the idea of " no pain, no gain ." Work fo rward rathe r
than downwa rd a nd never forc e th e stretch until you feel un com -
forta ble pain .
Movement
Go into th e lowest positio n of a regular push -up, maintaining good
form with your back straight and head in alignmen t with your spine.
Do not rest the chest o n the ground fo r support. While mai ntain-
ing t his positio n, run in place on your to es fo r 10 or 20 steps, the n
stop and pu sh up.
Breathing
Breathe freely.
Pointers
Run rapidly, keep your elbows in , and don 't bang your chin on the
ground . T his can be effectively co mbined with a no cheat br idge
(N o. 20). (See th e Wor kout Men u.)
....
,.
116 CAP OE IR A CON D I T I O N I NG
41 , Ben<;ao
Flexibility-stretch . Strength. Balance.
Mov ement
This is a fro nt kick delivered from a g inga. T he kicking leg is back
in a ginga, then th e back leg is raised , with the knee hig h and directly
in fro nt of the body, The arms co me our to th e sides, with the hands
relaxed and o pe n. To execu te th e kick, th rust forward with th e hips
and stra ighten out the kicking leg simultan eo usly, drawing the toes
back so tha t the kickin g surface is the sole o f the foot. On ce you
have thrust for wa rd to yo ur maximu m degree while maintaining
good. bala nce, retu rn the kicking foot to the rear, ori gin al pos ition,
gin ga, and then be ncao with the oth er leg .
Breathing
Exhale as yo u kick for ma ximu m power an d balance; otherwise
brea the freely d uring the ginga seage.
T he Exercis es 117
Pointers
Drive yo ur hips upward and forward after yo u have raised the knee.
K<."Cp your supporting foot flat on the gro und. Yo u can do this kick
fast an d repeat it for multiple reps, or do it in slow motion to increase
your balance and work o n co ntroll ing your raised kicking leg with-
out hopping about, but remaining rooted and stab le on your sup-
parr leg.
II Eat plent y of f ru it and veget ables. About five por t ion s a day
are recommended. Wh en it 's conven ient, try not t o mix
co nce nt rat ed starch and protein at t he sa me mea l, as that w ill
ma ke you sluggish. Mea t an d potatoes ta ste great t ogethe r,
but you're go ing to know about it when yo u t ry bridge
w alking after lunch. Avoid processed f ood and sugary dri nks
li ke soda. Try not t o eat t oo much sugar, especially before
t raining .
119
120 CAPO E I RA CO N D IT IO N ING
way. Check out the: fat burners in th e Training Effec ts Chart for
accelerated calo ric co nsump tion.
125
126 CAP O E IR A CO ND I T I ON I N G